Within the psychological universe where mental images abound, catchwords like “THINKING UP” through rapid fire 32nds, kept the notes percolating without falling down FLAT with IMPACT.

The deterrent to crashing down, was the suggestion to LIFT UP. (with CRISP releases)

In the physical cosmos, using CUPPED hands, with a slightly lowered wrist, delivered a FOREARM-driven staccato packed with punch, but NOT the kind landing between the eyes. The Notes sprang out and UP (once again) with an appealing energy that seemed to have a contagious thread from start to finish–One note bounced into the another.

The forearm generated staccato, could just as easily have been lowered in volume by channeling less arm weight, though still preserving CONSISTENCY across the scale terrain. (Cupped hands and lowered wrists remained old standbys)

With a wrist-driven staccato, notes were STYLED and GROUPED during the scale journey in wavy, snipped forms.

And once off to a fancy-free ARPEGGIO space, the romp consisted ofrolling triplets in legato (smooth and connected) as the CONTOURED model for staccato. In TRIPLET framing, the hands were thrown gracefully forward with GROUPED wrist ROLLS, while fingers became lengthened. (Cups were tossed)

The character of TRIPLETS had considerably altered the landscape requiring supple wrist motions in all articulations whether legato or staccato.

So not only having muscle memory was useful for a player, but snatching mental cues to support animated, ebullient energy could have a lasting effect on staccato playing in many contexts.

Below: A Piano Lesson by Skype to London